Music - The Institute of Education

MusicDr. Susan McCormickLeaving Certif icate

Higher Level

2020 - 2021

Composition:Melody

CONTENTS

Composit ion P aper Layout p. 1

Quest ion 1 Melody p. 2

Before com posing pp. 3–4

Mapping your melody pp. 5–6

Modulat ion pp. 7–8

Points to remember pp. 9–10

Composing your melody pp. 11–12

Performing d irect ions/instrument p. 13

Sample Answers pp. 14–15

Upbeat melodies p. 16

Sample upbeat melodies p. 17–18

Minor melodies pp. 19–21

Sample rough work minor p. 22

Sample map minor p. 23

Samples answers minor p. 24

Quest ion 2 Melody p. 25

Sample Answers pp. 26–28

Student Notes pp. 29–30

©Dr.SusanMcCormick.Music.6thYear.2020-2021.

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Thereare6questionsontheCompositionPaper.Youarerequiredtocomplete2ofthe6questions:1melodyquestionand1harmonyquestion

ThesenoteswillfocusonQ.1andtouchonQ.2.Theharmonyquestionwillbediscussedindetailinaseparatehandout

• Q.1Melody(40marks)

– 16Barmelody

– Modulation

– Dynamics,articulation,phrasemarks

– Pickaninstrument

• Q.5Harmony(60marks)

– Addchordstogivenmelody(mustformagoodprogression)

– Composeabassline

• (Q.2Melody:Settingmusictoagiventext)

Youwillbegiven1.5hourstocompletethetwoquestions.Iwouldrecommendspendingapproximately30minutesonthemelodyquestionand50minutesontheharmonyquestion;thiswillleaveyou10minutesattheendtocheckovereverything.Thistimingsplitisonlyasuggestion,youmaychoosetodividethetimedifferently–dowhatworksforyou.Generallytheharmonyquestionwilltakelongerthanthemelodyquestion.

Pleaseensurethatyoucompleteyourcompositionexercisesusingasharppencil.Itisveryimportanttobeneat.Youwillalsorequirearubber,rulerandsharpener.Onthedayoftheexamitisadvisabletobringafewpencilswithyou.

Youarerequiredtoknowallmajorandminorkeysupto4sharpsand4flats(pleaseseetheorysheet).Themelody/harmonyquestionscouldappearinanyofthefollowingkeys:

Major:C,G,D,A,E,F,Bb,Eb,Ab

Minor:A,E,B,F#,C#,D,G,C,F

Youmustalsobefamiliarwithboththetrebleandbassclefs

CompositionPaperLayout(paper2)100marks

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Continuationofagivenopening:

• Continuethegivenopening(4bars/1phrase)tomakea16barmelody(i.e.addafurther12bars/3phrases)

• Ifthemelodyisinamajorkeyyoumustincludeamodulationtothedominantatasuitablepoint

• Addperformingdirections(phrasinganddynamics)• Chooseaninstrument(4optionsprovided)toperformthemelody

Howisthequestionmarked?:

TheexaminerislookingforEXCELLENT

• Styleandimagination• Shapeandstructure• Developmentofopeningideas• Senseofdirectionandclimax• Successfulmodulation• Suitablephrasing,dynamicsandinstrument

Question1Melody40Marks

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• Identifythekeyofthemelody(checkthekeysignature,andthechordthattheopeningcompletebarisbasedon.Keepaneyeoutforanyaccidentalsinthegivenopening;ifthereisanaccidentalinthegivenopeningitislikelythatthemelodyisinaminorkey)

• Carryoutyourroughwork:o Drawthescaleofthehomekeyandaddsolfa.Itisalsoadvisabletodrawthetonic

(1st)anddominant(5th)chordse.g.

Cmajor

o Ifinamajorkeyworkoutyourmodulation.Modulationwillbediscussedindetaillaterinhandout

o Mapyourmelody(seemaplaterinhandout)o Checkifthegivenopeninghasanyuniquefeatures(e.g.rests,accents,staccatos,

syncopation).Ifthegivenopeningcontainsauniquefeature,thisfeatureshouldbeencorporatedintoyouranswer

Pleaseensurethatyourstemdirectionsarecorrect:

• Notesabovethemiddleline=stemsgodownbytheleft• Notesbelowthemiddleline=stemsgoupbytheright• Notesonthemiddlelinecangoeitherdownbytheleftorupbytheright• Ifyouhaveagroupofnoteswheresomestemsshouldgoupandsomestemsshouldgo

down(e.g.4quavers),thenyoushouldgowiththemajority

Question1Beforecomposing…

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Pleaseensurethatyourgroupingiscorrect:

• In4/4time(4crotchetbeatsperbar)beats1and3arestrong.NEVERbeamacrossbeats2+3.Dottedcrotchetsshouldonlybeusedonbeat1or3toavoidsyncopation,andshouldbefollowedbyasinglequaverortwosemiquavers.Examplesof4/4grouping:

• In3/4time(3crotchetbeatsperbar)thinkof3separatebeatsperbar-keepthreebeatsseparate,e.g.Ifusingquaversin3/4timebeamingroupsof2.Neverbeamacrosscrotchetbeats.Dottedcrotchetsshouldbeusedonbeat1onlytoavoidsyncopation,andshouldbefollowedbyasinglequaverorpairofsemiquavers

• In6/8time(6quaverbeatsperbar)thereare2strongbeatsinabar–quaverbeat1andquaverbeat3.Imaginethatthereisanimaginarybarlinethatgoesdownbetweenthe3rdand4thquaverbeats–NEVERbeamacrossthisimaginaryline.Possiblerhythmicpatternsin6/8timeinclude:

Groupingin4/4•  Strongestbeatisbeat1•  Beat3isalsorela6velystrong•  Beats2and4areweak•  NEVERbeamacrossbeats2and3•  DoDedcrotchetshouldonlybeenusedonbeat1or3in4/4andMUSTbe

followedbyasinglequaver•  Cancombineany‘halves’ofbarsbelow

234 24

+4++2

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• AABAisaneffectiveformforyourmelody:o A(bars1-4)o A1(bars5-8)o B(bars9-12)o A2(bars13-16)

• Thefirstnoteofbars5and13oftensoundbestas‘doh’.Thefirstnoteofbar5isoftenbestas‘doh’becauseithelpstoformaconnectionwiththegivenopening,andoftenthelastnoteofbar4requiresresolutiontothetonic(doh).Thefirstnoteofbar13isoftenbestas‘doh’asithelpstoconnectwiththegivenopeningandithelpsthemelodytocomefullcircle:makesurethattheyougotothe‘doh’thatistheclosesttothelastnoteofbar4/12respectivelyi.e.

o ifthelastnoteofbar4/12is‘re’thenthefirstnoteofbar5/13shouldbethe‘doh’astepbelow‘re’

o ifthelastnoteofbar4/12is‘ti’thenthefirstnoteofbar5/13shouldbethe‘doh’astepabove‘ti’

o ifthelastnoteofbar4/12is‘soh’thenthefirstnoteofbar5/13caneitherbethehighorlow‘doh’

• Itisimportanttofinishyourmelodyonthetonic;thefirstnoteofbar16shouldbe‘doh’.Inbar16ifyoumoveoff‘doh’,makesurethatyoureturnto‘doh’tofinishthemelody.Somenicepatternsforbar16include:

o Asustaineddoho Dohtodoh(octaveleap)o Dohsohdoh(finishingonalongdoh)o Dohmisodoh(finishingonalongdoh)

• Trytoavoidusing‘doh’asthelastnoteofbar15;thistakesawayfromtheimpactofdohinthefinalbar.‘re’or‘ti’arebeautifulasthelastnoteofbar15

• Itisimportantthatthethirdphrasesoundsunfinishedsoasthatitdoesn’ttakeawayfromthefinalphrase.InordertoensurethatthephrasesoundsunfinisheditisbestifyougotothechordofVheree.g.thestrongbeatsofbar12shouldbepartofthechordofV(i.e.soh,ti,orre)

• Themodulationisveryeffectiveattheendofthesecondphrase(i.e.bars7-8).Itworksbeautifullytobeginthemodulationinbar7andtostayinthenewkeyuntiltheendofthephrase:

o Try‘fi’asthefinalnoteofbar7tobeginmodulation(fi’isasemitonehigherthan‘fah’)

§ Iftherearesharpsinthekeysignatureyouwilladdasharpsignbefore‘fah’tomakeit‘fi’

§ Ifthereareflatsinthekeysignatureyouwilladdanaturalsignbefore‘fah’tomakeit‘fi’

o Ensurethatthefirstnoteofbar8is‘soh’.Ifyoumoveoff‘soh’,makesurethatyougotoanothernotefromthechordofV(soh,ti,re)onthenextstrongbeatofthebar.ItisimportanttostayonchordV(whichisthetonicofyournewkeyi.e.theonethatyouhavemodulatedto)untiltheveryendofthephrase.Themodulationwillbeoutlinedindetaillaterinthehandout.

• Steppingacrossthebarlinefrombar8intobar9worksverynicely

Mappingyourmelody


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• ItisnicetoincludeasequenceInbars9and10(seeexamplesinmelodiesbelow).Asequenceisamelodicpattern/motifthatisrepeatedatahigherorlowerpitch

o Ifyoursequencemotifpredominantlyascends,anascendingsequenceisrecommended.Ifyoursequencemotifdescends,adescendingsequenceisrecommended

o Itsoundsstrongwhenthereisthedistanceofastepbetweenthefirstnoteofeachmotif.Iwouldsuggestpretendingtostartanothermotifinbar11,butthechangeittoaddmoreinterest(seeexamplesbelow)

o Trytopickasequencemotifthatmovespredominantlyinstep,takeinspirationfromtheopening4bars,butshowyourimaginationbychangingittosuityou

o Sequencemotifsthatbeginandendonthesamenoteareparticularlystrong• Yourmelodyshouldincludeatleast1climaxpoint.Aclimaxpointisafocalpointofyour

melody–itisusuallyahighpointinyourmelody,althoughitcanbealowpoint.Effectiveclimaxpoints

o Buildovertime(ideally1.5-2bars)o Don’tmovetooquicklyoffthehighest/lowestnoteo Inanascendingclimaxdrawacrescendostartingdirectlybelowthelowestnoteof

yourclimaxandfinishingdirectlybelowthehighestnoteofyourclimax.Inadescendingclimaxdrawadiminuendo(dynamicswillbediscussedinmoredetaillaterinthehandout)

o Iwouldsuggestincludingaclimaxinthefinaltwobarsofoneofyourphrasesasthiswillallowyoutostayonthehigh/lowpoint

Samplemelodymap:

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Itisusefultodrawoneoctaveofthepianokeyboardtohelpyouworkoutthemodulation:

Ifthemelodyisinamajorkeyyouarerequiredtomodulatetothedominantkey.Thedominantkeyisthe5thnoteofthescalee.g.thedominantofCmajorisG,thedominantofFmajorisCetc.

Inordertomodulateyouwillberequiredtoaddanaccidental(asharp/flat/naturalsignwrittendirectlybeforethenote,coveringtheline/spacethatthenoteison).Asharpsignraisesanotebyasemitone.Aflatsignlowersanotebyasemitone.Anaturalsigncancelsasharp/flat.

Thereareafewdifferentwaystoworkoutthemodulation:

Option1:workoutthekeysignatureofeachkeyi.e.thehomekey(tonic)andthedominantkey(5th),andthedifferencewillbetheaccidental,forexample:

• ThemelodyisinthekeyofCmajor(tonic).Thedominantkey(5th)isGmajor.Cmajorhasnosharps/flats,Gmajorhas1sharp(F#),thereforethenewnotewillbeF#

• ThemelodyisinthekeyofDmajor(tonic).Thedominantkey(5th)isAmajor.Dmajorhas2sharps(F#andC#),Amajorhas3sharps(F#,C#,G#),thereforethenewnotewillbeG#

• ThemelodyisinBflatmajor(tonic).Thedominantkey(5th)isFmajor.Bflatmajorhas2flats(BbandEb),Fmajorhas1flatBb,thereforeyouhavetocanceltheEb,sothenewnoteisEnatural

• Rememberifyouraiseanaturalnoteitbecomes#,ifyouraiseaflatnoteitbecomesnatural!!(ifthereare#sinthekeysigadda#,ifthereareflatsinthekeysigaddanatural)

Option2:drawthetonicscale(i.e.thehomekey),addsolfa.Raisethe4thnote(fah)byasemitone(fahwillbecomefi),andthatwillbeyouraccidentalnotee.g.

IfyouaregivenamelodyinCmajorinordertomodulateyoumustincludeanF#andgotoG(thenewdomInantkey)

IfyouaregivenamelodyinBflatmajorinordertomodulateyoumustincludeanEnaturalandgotoF(thenewdomnantkey)

Majormelody:Modulationroughwork


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• Suggestionsforhowtoapproachtheraisednoteofthemodulationinamajorkey:

– Fromthenotebelowe.g.mfis

– Fromthenoteabovee.g.sfis

– Fromathirdabovee.g.lfis

• Irecommendmodulatingtothedominantattheendofthesecondphraseofthemelody,byusingfi(theraisedfah)asthelastnoteofbar7andgoingtosoh(asalongnote)inbar8

• Itisreallyimportanttoendyourmodulationphraseonthedominant(i.e.gotoalongsoh,andifyoumoveoffitensurethatyougotoanothernoteofthedominantchord).NBthedominantchordisyou‘newtonic’

• NBonceyoumoveinthenextphrase(phrase3)youcanreturntotheoriginalkey

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• Irecommendalwayscompsosingfromlefttoright–leteachnotedictatethenext–voiceleadingisveryimportant

• Neverleapoffapassingnote(i.e.apairofquaversthatmoveinstep/adottedcrotchetquaverthatmoveinstep).InotherwordsIfyouhave2shortnoteswhichmoveinstepkeepmovinginstepi.e.stepoffapassingnote

• Inamajorkeytiwantstoresolvetodoh,unlessinadescendingscale,oraspartofyoursequence.Alwayscheckifthelastnoteofthegivenphraseis‘ti’(orre),ifsothefirstnoteofthenextphrasemustbe‘doh’

• Inamajorkeyreoftenwantstoresolvetodoh

• Itisrecommendedtousealongnotetoestablishaclearmodulation

• Makesureyoudoyourroughworkcarefully

• Don’taddsyncopationunlessitisusedinthegivenopening

• Checkifthereareany‘uniquefeatures’inthegivenopening.IftherearetryyouusetheseinthesameplaceinthesubsequentAphrases(seesampleanswers)

• Ifthereisarticulation(staccatos,slurs,stresses,accents)orrestsinthegivenopeningtakeinspirationfromthisandusethemsuitablythroughouttheentiremelody

• Thefirstbarofphrases2and4(e.g.bar5an13)shouldbebasedonthetonicchordifbar1isbasedonthetonic,asthiscreatesalovelyconnectionwiththegivenopening

• Thefinalbarofthethirdphrase(Bphrase,bar12)shouldbebasedonthedominantchord(donotchangefromthischord),inordertomakethephrasesoundunfinished

• Tryasequenceinbars9+10

• Keepleapstoaminimum–leapswithinthetonicchordarestrong

• Inamajorkeyavoidthefollowingweakintervals/leaps

• Fah-doh(4-1)

• Lahdowntodoh(6-1)

• Tijumpingdowntodoh(7-1)

• Fah-ti

• Theseintervalsarealsoweakinaminorkey,buttheywillhavedifferentsolfa

• Steppingacrossthebarlineisstrong

• Makesuretherangeisgood(youshouldaimforatleast2octaves)

Pointstonote:


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• Yourmelodyshouldhaveatleastoneclimaticpoint

• Ensurecorrectplacementofphrasesandperformingdirections

• Theexaminerislookingforyoutodevelopboththemelodyandtherhythm

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Phrase2/A1Phrase(bars5-8)

• Thisphraseshouldalsobereminiscentofphrase1,howeverthereisroomforindividualityhere

• Thefirstbarofphraseoftensoundsbestifbasedonthetonic

• Thinkaboutexpandingtherange

• Don’tforgetifyouareinamajorkey,youmustmodulatetothedominantattheendofthisphrase

• Inamajorkeyendthisphraseonalongdominant.Ifyoumoveoffthedominantnoteensurethatyougotoanothernoteofthedominantchordonthenextstrongbeat(inaminorkeyyoumightliketoendthephraseonthetonicchord)

• Suggestionsonhowtoapproachtheraisednoteofthemodulationinamajorkey:

– Fromthenotebelowe.g.mfis

– Fromthenoteabovee.g.sfis

– Fromathirdabovee.g.lfis

Phrase3/Bphrase(bars9-12)

• Useyourimaginationinthisphrase

• Tryforarhythmicandinterestingsequencemotif

• Endthisphrasewithanimperfectcadence(i.e.onthechordofV)

• Iwouldsuggesta2barsequenceatthebeginningoftheBphrase

• In4/4timethesequencemotifcanbe2or4crotchetbeatsinlength(e.g.halfabarorafullbar)

• In3/4timethesequencemotifshouldbe3crotchetbeatsinlength(e.g.afullbar)

• In6/8timethesequencemotifcanbe3quaverbeatsor6quaverbeatsinlength(e.g.halfabarorafullbar)

• Inupbeatmelodies,youmaystartthesequencemotifonbeat1ofthefirstfullbarofthephrase,however,youmustincludeanupbeatinthepreviousbarasanintroductiontothesequence

• YoumayliketoputaclimaxpointattheendofyourBphrase

Composingyourmelody


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Phrase4/A2phrase(bars13-16)

• Thisisaveryimportantphraseasitconcludestheentiremelody

• Inorderforthemelodytosoundwholeandcompleteitneedstobereminiscentoftheopeningphrase(thoughnotidentical)

• Thefirstbarofphraseshouldbebasedonthetonic

• Expandtherange

• Endthisphraseonalongtonic

• Ifthereisanupbeatmakesurethatthelastbarhasthecorrectnumberofbeats

• Donotapproachthefinalnotefromfah(4thnote)orlah(6thnote)–theseareweak

• Octaveleapsareeffectiveattheendofthemelody

• Aimforastrongending–trymoremovementhere/flourish

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Youwillberequiredtoaddperformingdirectionstoyourmelody.Theseshouldincludephrasinganddynamics.Youmayaddsometempochangesifyouwish–butmakesurethattheysuitthemelodyandthattheyareusedwithcare

• Phrasing

– Becarefulofphraseplacement

– Ifusinglongslurredphrasemarks,ensurethatthephrasemarksstartandendontopofthenote

– Ifusingcommaphrasemarksthephrasemarkshouldappearshortlyafterthelastnoteofeachphrase

– Takeparticularcarewhenaddingphrasemarkstoanupbeatmelody

• Dynamics

– Oneormaxtwoperphrase

– Ifmelodyascendsbystepcrescendosareeffective

– Ifmelodydescendsbystepdiminuendosareeffective

– Followthecontourofthemelody

– Dynamicmarkingsshouldbewrittendirectlyunderthenoteonthestave

• Tempomarkings

– Rit./Ritardando,Rit./RitenutoRall./Rallentando–toslowdown

– PocoRit.–getalittleslower

– Accel./Accelerando–togetfaster

– Atempo–backtotheoriginaltempo

– Tempomarkingsarewrittenabovethestave

• Instrument

– Pickoneinstrumentfromfourgivenoptions

– Goodinstrumentstochoose

• Violin

• Clarinet

• Oboe(providingthatyourmelodydoesn’tgobelowBbbelowmiddleC)

• Flute/Descantrecorder(providingthatyourmelodydoesn’tgobelowmiddleC)

Performingdirections,Instrument


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Pleaseobservehowthemelodiesbelowfollowtheaforementionedmap:

SampleMelody1

• Inthissampleansweryoucanseehowtheuniquefeature(therestinbar2)iscarriedthroughthemelody,beingusedinthesameplaceinthesubsequentAphrases

• Noticehowtherangeisabove1octaveineachphraseandtherangeoftheentiremelodyisover2octaves

• Noticehowthedynamicsfollowthecontourofthemelody.Rememberlessismorewithdynamics

• Ibroughtinsomearticulationintothethirdphrasetoaddsomenewinterest• Thereareanumberofpointsofclimax(seetheendsofphrases)• Therhythmisdeveloped,andsemiquaversareaddedtothesequencetoaddmoreinterest

Samplemelodies


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SampleMelody2

• Noticehowtherangeisabove1octaveineachphraseandtherangeoftheentiremelodyisover2octaves

• Noticehowthedynamicsfollowthecontourofthemelody.Rememberlessismorewithdynamics

• Ibroughtinsomesomenewrhythmicfeaturestoaddsomemoreinterest(semiquaversandtriplets).Pleasetakecarewhenaddingnewrhtyhmicfeatures–theymustbeusedsensitively.Themelodyissimplewhentheseadditionshavebeenmade

• NoticehowIsplitthefinal4barsinto2shorterphrases–Iwantedtomakeanimpactofthehighpointinbar14andaddedapausetoempahsisethisfurther

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• Anupbeatmelodyiswhenthemelodydoesnotbeginonbeat1ofthebar

• Becarefulwhennumberingbars-wecallbar1thefirstcompletebarofthemelody

• Thegivenopeningisphrase1–donotaddanynotestothisphrase.Step1–addphrasemarktogivenopening

• Eachphrasemuststartwithanupbeat.Yourupbeatshouldbetheexactsamerhythm/valueasthegivenupbeat.Thisupbeatshouldbewritteninbar4,butwillformthebeginningofphrase2(seesampleanswers).Forexample,ifthegivenmelodyhas2quaverbeatsforanupbeat,youshouldalsouse2quaverbeatsfortheupbeatofallotherphrases

• Eachphrasemustendwiththesamenumberofbeatsasphrase1finishedwith(seesampleanswers)

• Theupbeatshouldconnectmelodicallytothebarthatfollows

• Dynamicsshouldbewrittenundertheupbeat(ifyouareputtingoneatthestartofthephrase)

• Thefinalbarofanupbeatmelodywillneverbecompletei.e.thetopfigureofthetimesignatureminusthenumberofbeatsinthegivenupbeat=thenumberofbeatsinthefinalbar

UpbeatMelody


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Eachcolourinthesampleanswersbelowsignifiesadifferentphrasei.e.phrase1ispurple,phrase2isblue,phrase3isgreen,andphrase4isred.Pleasealsoobservehowthemelodiesfollowtheaforementionedmap.Alsotakenoteofthedynamicsandphrasing.

SampleMelody1

• Noticehowsyncopationisusedinbar1(N.B.bar1isthefirstcompletebar),thereforeithasbeenbroughtintothefirstcompletebarofthesubsequentAphrases

• Thesyncopatedrhythmofbar1haspushedthetonic(doh)ontothe2ndbeatofthebar(i.e.theminim),thereforebars5and13havedonethesame

• Noticethattheendofthesecondphrase(theFinbar8)isinthenewmodulatedkey,however,thethirdphrase(beginningwiththeEflatinbar8)returnstotheoriginalkey(hencetheEflat).Themodulationneedonlylastforphrase2–theupbeatinbar8ispartofphrase3andsothereforeisinthehome/tonickey

SampelUpbeatMelody


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SampleMelody2

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Howtotellifthemelodyisinaminorkey:

– Thequestionwillnotaskyoutomodulate

– Therewillprobablybeanaccidental(raised7th)inthegivenopening

– Thefirstbarofthegivenopeningislikelytobebasedaroundthetonicminorchord

Howtoworkouttheminorkey:

• Lookatthekeysignature

• Workoutthemajorkeywiththiskeysignature

• Tofindtherelativeminorcountdown3semitonesfromthenotewhichyouareon(e.g.IfthekeysignatureisCmajorcountdownthreesemitonesfromCi.e.BBbandA–therelativeminorisAminor)

• Alternativelydrawthemajorscale,addthesolfaandgotolahinthescale–thisnotewillbetherelativeminor

• NBrelativekeyswillhavetheexactsamekeysignature

• Itoftenhelpstovisualiseordrawthepianokeyboardwhenworkingouttonesandsemitones

MinorMelody


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Givenopening:

• Step1:Identifythekey

• Step2:Completeyourroughwork(seeexamplesonfollowingpages)

• Step3:Mapyourmelody(seesampleanswers)

• Step4:Composeyourmelody.Don’tforgettotreatthe7thcorrectly

• Step5:Addphrasing

• Step6:Addperformingdirections

• Step7:Pickasuitableinstrument

N.B.

• Nomodulationisrequired(althoughyoucanmodulatetotherelativemajorifyouwish)

• Youmustremembertoaddaccidentals…

Howtotreatthe7thnoteoftheminorkey:

• Minorscalescontainaraised7th(i.e.the7thnoteofthescaleisraisedbyasemitone.Inordertoraisetheoriginalnotebyasemitoneanaccidentalisused.Asharpsignisusedtoraiseawhitenote(e.g.F),andanaturalsignisusedtoraiseablacknote(e.g.Bb)

• The7thnoteofthescalemustbetreatedverycarefully(!!)inordertoavoidtheaugmented2ndintervalthatispresentintheharmonicminorscale:fah-si

• YoumustALWAYSstepoffthe7thnoteofthescaleUNLESSyouaredoingabrokenchord/triadofchordV(i.e.m–si–t)

– Ifyouascendinstepyoumustraisethe7th(i.e.addanaccidentalinfrontofthenote)

• Sohwillbecomesi

• Simustbefollowedbylah(unlessasmentioned–thebrokenchordofV)

– Ifyoudescendinstepyoudonotraisethe7th(i.e.noaccidental,unlessyouarecancellingaraised7ththatwasearlierinthebar)

• Sohwillremainsoh

• Sohwillbefollowedbyfah

• Lah–soh–fah

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Torecap:

ALL7thnotesoftheminorscaleMUSTberaisedUNLESSyoudescendinstepoffthe7th

Thebestwaystousetheraised7th(si)areasfollows(remebersimustalwaysbefollowedbylahunlessusingabrokenchordofV):

• Lah–si–lah(creatingalowerauxiliary)• Mi–si–lah(approachingfromathirdbelow)• Ti–si–lah(approachingfromathirdabove)• Fi–si–lah(approachingfromtheraisednotebelow)

Ifyoudescendinstepoffthe7thnoteyoushoulduse:

• Lah–soh–fah(i.e.noaccidentals)

Forexample,inthekeyofGminor,thesewouldbethepossibilities:

NBYoudonotneedtoaddaccidentalstomakesoh/fah,unlessyoufi/siappearearlierwithinthesamebare.g.

Let’srecapagain!:

• Neverleapoffsi(raised7th)unlessusingabrokenchordofV

• Si(raised7th)shouldalwaysriseto/befollowedbylah(unlessabrokenchordofV)

• AlternativelyyoucandescendLah–soh–fah

• Ifyouareusingsohitmustbefollowedbyfah

• Neverpivotaroundthe7thnoteie.lah–soh–fah–si–lah;forthistobecorrectyouwouldneedtochangeitto:lah–soh–fah–fi–si-lah

Iwouldsuggest:

• Avoidingcrossingthe7thnoteofthescaleinthesequence

Remember:

• NEVERfah-siorsi-fah(thisistheaugmented2ndintervalthatwewanttoavoid)!!

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NBItisalsousefultodrawthechordofVinyourscale–chordVcontainstheraised7th

NBthedifferentaccidentalsusedtoraiseanotedependonthekeysignature

SampleRoughworkinaMinorKey


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SampleMapforMinorMelody


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Thisisadelayedresolvedfromsitolah-wewilldiscussthedelayedresolvefurtherinclass

SampleAnswersinaMinorKey


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ThisquestionisanalternativetoQuestion1Melody(‘Continuethegivenopening…’).Itisalsoworth40marks

N.B.The‘Beforecomposing’(pages3+4)and‘Pointstonote’sections(pages9+10)alsoapplytothisquestion

Stepstocompletingthisquestion:

1. Readtheopeningtextaloudwiththegivenrhythm2. Addbarlinestoopeninglineoftext3. Readtheentiretext4. Underlineemphasisedwords5. Putabarlinebeforeeachoftheunderlinedwords(seeexamplebelow)6. Ifupbeatmelodyaddupbeattext(i.e.firstwordofeachline)toendofeachstave(see

highlightedwordsinexamplebelow)7. Writefirstsyllableofunderlinedwordatstartofeachbar(butrememberyoumaywishto

repeatsomewords)8. Mapyourmelody–looseversionof16barmelody

a. Form:looseAA1BA2(A3ifyouwishtodo20bars)b. Ifupbeatmelodythefinalbarwillbe‘incomplete’c. FirstbarsofAphrasesbasedonthetonicd. Endofeveryphrase(exceptfinalphrase)unfinished(i.e.notondoh)e. Finishthemelodyondohf. Canmodulateifyouwish(e.g.bars7-8)g. CandoasequenceinBphraseifyouwish

9. Checkforwordpaintingpossibilities10. Composemelody11. Addslurstomelismasi.e.morethatonenotepersyllable12. Hyphenatewordsthataremorethanonesyllable13. Underscoreonesyllablewordsthataretobeheldovermorethanonenote(seeexamples

below)14. Addphrasinganddynamics(dynamicswillbeabovestaveastextisbelow)

Theexaminerislookingfor:

1. Excellentstyleandimagination2. Excellentmarriageofwordsandmusic3. Excellentsenseofshapeandstructure4. Excellentsenseofdirectionandclimax5. Appropriateperformingdirections(phrasinganddynamics)inserted

Question2Melody:SettingMusictoaGivenText


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GivenQuestion:

Thesunsmilesovereveryland,

Apartingformefromthebroodofcares:

Houndsbark,stagstryst

Ravensflourish,summerhascome!

SampleAnswer:

Wordpaintingpossibilities:bark,flourish

N.B.Upbeatmelody(thereforeincompletefinalbar)

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GivenQuestion:

Hailtothechiefwhointriumphadvances!

Honouredandblessedbetheevergreenpine!

Longmaythetreeinhisbannerthatglances

Flourishtheshelterandgraceofourline!

SampleAnswer:

Wordpaintingpossibilities:bark,flourish

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StudentNotes


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StudentNotes


Music - The Institute of Education

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Transcript of Music - The Institute of Education